There is a reason coming-of-age films like Dazed and Confused, Fast Times at Ridgemont High, The Myth of the American Sleepover, and Palo Alto all revolve around the same three things: sex, drugs, and youth. The reason is that they are one and same. This is the mixtape that understands that.
Much like those coming-of-age films, it is about not letting the little things bother you and seeing the bigger picture in a small town setting. It is about having the clearest ideas under the cloudiest circumstances and about dark times from which you rise above. It’s about getting really, really high and staying there for a week. It is about traveling to a foreign city and fucking shit up with your friends. It’s about the things you can only do when you’re young. Or maybe it’s just the soundtrack.
Don’t tell my momma I’ve been smoking
From an outsider’s perspective (no pun intended), it could be easy to discredit G-Eazy‘s success, saying that his brand is “manufactured.” It could be easy to say that this faux-retro brand he has built from nothing is just a shtick to set him apart in an over-saturated hip-hop market. Once you witness his “shtick” firsthand, you realize that maybe his brand is manufactured to set him apart in this crazy game. It doesn’t matter. G-Eazy is a smart guy–a graduate of Loyola University’s Music Industry Studies program. He knows what he’s doing, and maybe his image is a calculated attempt at monetizing nostalgia.
But image only gets you so far.
These Things Happen will be G’s first commercial album. The man is treading into the deep waters of actually asking his fans to purchase his music! But what I saw when I interviewed young Gerald was an experienced yet still hungry rapper with a smart style, a loyal fan base, and an unending supply of good music and ideas–not to mention, he is one of the most genuine artists I have ever met. Like, he lives exactly what he raps. In our interview, the Bay Area rapper talked candidly about the challenges of tour life, the details of his come up, rap disses, his favorite brands of whiskey, and of course, the making of These Things Happen. Pre-order the album on iTunes now or buy a physical copy on June 23rd. Continue reading “[Interview] G-Eazy: “This Is Where It All Starts”” »
Jez Dior continues to build on his new sonic ventures on his latest single, “Old No. 7.” Filled with guitar twangs and distorted production, the track has a nostalgic 90s feel that any rock enthusiast could appreciate. This ode to whiskey has Jezzy dropping angst-filled bars and a worthy singalong hook to boot. Oh, and the always smooth G-Eazy is enlisted to cap things off too.
Stream the song below.
People always want to know what’s next. That’s probably why you visit this blog or other blogs on a near-daily basis. You want new music to show to your friends and vibe to when you go out. I get it, but sometimes the cool thing is not the mysterious band from Belgium, who might actually just be two Siamese twins who have spent the last decade writing songs for other artists because they did not want to be the face(s) of their own music, until 2014 when they felt things were progressive enough to accept the first Siamese pop stars. Dang, that actually seems really interesting.
My point is sometimes the cool thing is the artist you have followed since 2011, who has morphed and developed a unique sound–in hip-hop, too, where you get many more followers than leaders. Hopefully with his new album These Things Happen, G-Eazy will cement his place as a leader in hip-hop. Honestly, that probably won’t happen, but at least the blogs know what’s next.
You and I, we’re made of glass, we’d never last
Gerald Gillum, better known by his stage name G-Eazy, has sure come a long way since dropping “Runaround Sue” a couple years ago. Though he carved a nice little niche for himself by sampling doo-wop during The Endless Summer era of his career, he’s hasn’t hesitated to quickly and effortlessly evolve his sound with each successive release.
On his newest cut, “Almost Famous,” G finds himself reflecting on his steadfast rise in popularity since his first breakout single, asking himself, how long can this go on for?
I’ve always been a huge fan of this Bay Area spitter’s uber-cool style, and this video encapsulates his steez rather nicely in its creative direction, which superimposes Mr. Gillum on life-sized magazine covers.
Stream the song and it’s visuals below, and appreciate a nice little cameo by Devon Baldin‘s boobies.
Everyone making music tries so desperately to be interesting, and only a few actually are interesting. With his past few tracks especially, SITR favorite G-Eazy has been running the boards on every type of track possible. His song with Skizzy Mars (“Pay for You”) delves into a relationship with a rich girl offering to pay for the guy. His other new track “I Don’t Believe You” is about a girl pretending to be drunk just to get with G. It’s these unique song ideas and perspectives that keeps his songs interesting. “Been On” is no different. Here, Gerald takes the standard “I’m the shit” rap and puts his own hazy spin on it.
Also, this joint was produced by Christoph Andersson, who I think has a big role on G-Eazy’s new album, so shout out to him.
It’s been a while since I’ve been able to post, but I am back with a new feature on the site that I will be curating each Sunday recapping Sunset’s favorite songs of the week. If you fall behind on music any given week, we hope this post will get you back in the loop!
Young Gerald dropped a new single featuring long time contributor Team Robot (you’ll know them from “Run”). This is one to get turnt to.
If you’ve been following Avicii since his controversial Ultra performance where he blended live country music with his set, you’ll know he’s going in an interesting direction as of late. This one features Aloe “Needs a Dollar” Blacc, and fuses Avicii’s club-ready instrumental’s with country guitar and Aloe’s beautiful, jazzy voice.
This one is really incredible. Vicktor Taiwo, who Arjun recently introduced to the site, cover’s Ben Howard’s song “Only Love.” Vicktor’s exceptionally unique R&B combines with the instrumental to make a dreamy, driving, gorgeous song. Perhaps my favorite from the entire week.
Thanks to Dusty for bringing this to SITR, Milky Chance is an artist I had formerly been unfamiliar with. They’re kind of like Feist meets Guster meets Miike Snow, but their sound is unique and a lot of fun. With an amusing, acoustic instrumental and the lead singer’s voice that recalls Noah and the Whale, these Germans are poised to become very popular in the States.
It’s tough not to start dancing to this one. Trails and Ways describes their sound as “bossanova dreampop,” and I think that’s really the best description possible for what they have released on their new album, Trilingual. Listen to my favorite track off of that EP below, and hit the link above to stream the new EP.
Paul Otten’s “Breeze” sounds like a song that could be a breakout single this summer. Perfect for the beach and backyard barbeques, this song is simple, fun, and guarantees a good mood. Breeze will certainly be in heavy rotation in the weeks to come.
Schoolboy Q – Collard Greens feat. Kendrick Lamar
Given that this one features two of my favorite MCs of the moment, it almost makes the list by default. That being said, it clearly came with high expectations, and in my mind, it exceeded them. With great verses from the two of them, TDE kills it as always.
G-Eazy is currently working on a follow up to Must Be Nice. To hold us over until then, he dropped this little single, featuring long time collaborator Team Robot. I imagine this one is for the turn up.
I’m fucking your girl while we look in the mirror / Skeet all over her back and leave a souvenir
Related: [Interview] G-Eazy in ATL
There’s an old wives’ tale about going to a concert in the rain when storm-drenched boots line the venue floor and a really ratchet drunk girl double fisting two beers like a champ tries to dance with you and your friends–
While those things totally happened I don’t know where I’m going with this. Also, I’m not totally sure I know what the phrase “old wives’ tale” even means. What I do know is that G-Eazy and Skizzy Mars gave one hell of a performance in that beat up Atlanta joint a couple of months ago and made new fans with carefully prepared set lists, lighting, and live percussion. I had the unique privilege of interviewing G before the show.
Hit the jump to read our interview with G-Eazy… Continue reading “Interview: G-Eazy in ATL” »
I was in the middle of watching Jimmy Fallon’s discussion with Chris Hardwick at the Paley Center when I got a text. In the videos (which can be viewed here), Jimmy Fallon discusses how he came up in the comedy world–throughout the interview, he never once sounded pompous or arrogant; instead, he was his usual, charismatic self, filled with pride and excitement and a healthy dose of self-effacement. Well, the text was from Hoodie Allen. He wanted me to review his new free album Crew Cuts, which was coming out at noon. In his text, he said he wanted me to absorb the music and feel no pressure to have a review out by noon. Of course, I’m doing the exact opposite, but that’s not the point. Hoodie wanted feedback–genuine, good ol’ fashioned feedback.
A lot can be written about Hoodie Allen, the rapper: how he has removed the boundary between himself and his fans on Twitter, how his EP reached #1 on iTunes completely independently, how he does not exactly look like your stereotypical rapper, etc. Whatever. What about Hoodie Allen, the man? On Crew Cuts, it becomes abundantly clear who Hoodie Allen is.
If you look at this free album as a whole, you see two versions of Hoodie and where they overlap. There’s the carefree, “lady killer” Hoodie heard in the lead singles “Cake Boy” and “Fame Is For Assholes.” Then, there’s the more serious, reminiscent Hoodie found on album highlights “Let Me Be Me” and “Good Intentions.” Finally, there’s the overlap, where Hoodie deals with a fame complex, a chronic issue of my generation. That is, balancing the want and need and drive to be famous and the pains of moving past the excitement of the struggle and adventure and naiveté of young adulthood.
“Where Do We Go Now” is perhaps the best example of the overlap. It ebbs and flows through clever jabs at Al Pacino (Hoodie’s biggest fan), a shout out to super-producer/international superstar Brenton Duvall, and an extended Full House reference that had me laughing out loud at first listen, along with a narrative about his youth and general come up. It’s perhaps most fitting that such a well-rounded song brings the album full circle. On Crew Cuts, Hoodie takes the listener into his life: shows them the tour life, shows them the writing process, shows them the nights out, shows them his friends, shows them his family–much like he’s done his entire career. And he’s still grinding. He’s still responding to thousands of fans every day on Twitter and shows no signs of stopping. Throughout all of the late nights in the studio and extended metaphors, Hoodie has remained humble and prideful and maybe most importantly, excited throughout. He is the rap game Jimmy Fallon. Now, shit I have to go to class.
I was lucky enough to kick it with G-Eazy aka Young Gerald when he came to Maine earlier this year. Javs were tossed, music was talked, all that good stuff. He’s a great dude, a really funny guy with impeccable style.
Today, he released his video with DJ Carnage for their track “Loaded,” and it has pretty much everything you’d expect from your “quintessential” rap video. Bitches, beaches, and bellies.